SKenau  Bulletin 

Published  by  Brenau  Colleire.  Gainesville,  Ga..  four  limes  a  year. 


Vol    IV.  JULY,  1914  No.  7 


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THE  THEORETICAL  MUSIC 
DEPARTMENT 

THE  VOCAL  DEPARTMENT 


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itter,  under/  >f  July  16,  1894. 


THEORETICAL  DEPARTMENT 


Dr.  Henry  G.  Hanchetl  will  continue  in 
charge    ol     the     I  heoretical    Department  oi 

Brenau    during    the    year    1914-15.  His 

long  and  distinguished  career  as  a  teacher 
and  author  eminently  qualifies  him  for  this 
important  position  in  Brenau  Conservatory, 
which  claims  to  be  the  leading  conservatory 
in  the  South  and  to  rank  with  the  best  in  our 
country. 

L  pon  Dr.  Hanchett's  suggestion  the 
courses  in  this  department  have  been  altered 
and  enlarged,  and  it  is  believed  very  much 
improved. 

In  the  work  of  the  department  Dr.  Han- 
crett  will  be  ably  assisted  by  Mr.  Bruno 
Michaelis,  and  Miss  Carrie  Sue  Blocker. 
Mr.  Michaelis  is  a  graduate  of  the  famous 
Leipzig  Conservatory  and  a  teacher  of  wide 
experience.  Miss  Blocker  is  a  graduate  of 
Brenau  and  also  has  done  extensive  work  in 
the  Cincinnati  Conservatory  and  more  re- 
cently has  spent  a  year  in  Paris  studying 
ivith  Moszkowski.  She  is  also  a  teacher 
of  successful  experience. 

1  he  ideal  of  the  Theoretical  Department 
and  the  complete  course  of  study  are  ad- 
mirably  set  forth  in  the  following  article  by 
Dr.  Hanchett: 


MUSIC  STUDY  AT  BRENAU 

By 
Dr.  Henry  G.  Hanchett. 


There  are  so  many  sides  to  it ! 

Music  for  its  charm,  its  tingling  rhythm, 
its  sprightly  lilt,  its  synchronizing  pulses,  its 
everlasting  youthfulness! 

Music  for  its  sympathy,  its  tender  soothing 
melodies,  its  soulful  harmonies  that  seem  to 
carry  off  the  burdens  and  heal  the  heart- 
aches ! 

Music  for  its  entertainment,  its  persuasive 
sociability,  its  brilliant  display,  its  rivalry  in 
accomplishment ! 

Music  for  worship,  its  ponderous  diapason, 
its  stately  uplift,  its  compelling  unification,  its 
inspiring  praise,  its  convincing  revelation! 

Music  for  its  beauty,  the  thought  of  the 
artist,  the  interrelation  of  tones  from  every 
voice  of  throat  or  instrument,  blending  strains 
and  chords  in  exquisite  complexity! 

Music  for  its  mystery,  its  hiding  of  its 
wonders  in  majors  and  minors,  in  progres- 
sions and  intervals,  in  resolutions  and 
cadences! 

Music  for  its  record  through  the  centuries, 
for   the   names   it   has    given    lustre,    for    the 


thoughti  it  has  crystallized  into  shining  facet! 

in  the  corridors  ol   time! 

Music  tor  its  culture  of  hand  and  brain, 
tor  its  overtures  and  fugues,  its  symphonies 
and  chorales  to  be  mastered  only  by  patience 
nourished  by  love ! 

^1  ou  know  how  we  study  some  sides  of 
music  at  Brenau;  how  we  search  out  those 
who  have  demonstrated  their  mastery  and 
proved  their  gilts;  who  have  shown  them- 
selves sympathetic  toward  ignorance  and  im- 
maturity, and  capable  of  pointing  out  the 
steps  up  the  hill  Difficulty.  Only  those  who 
have  traveled  the  road  can  show  the  way ; 
only  those  who  have  climbed  high  can  make 
the  ultimate  attainment  inspire  the  weary  and 
the  lagging  over  the  rough  places  in  the  foot- 
hills. So  we  gather  at  Brenau  real  teachers 
whose  influence  and  training  will  make  a  last- 
ing impression  and  give  our  alumnae  memo- 
ries that  will  be  treasured  through  life. 

And  we  are  not  content  to  let  our  students 
narrow  their  investigations  to  any  one  side  of 
the  art  whose  beauty  has  won  their  devotion. 
In  order  that  they  may  go  forth  with  the  full 
endorsement  of  their  Alma  Mater  they  must 
know  how  to  recognize,  describe  and  discuss 
the  workmanship  in  the  masterpieces  of  com- 
position;  must  in  a  sense  take  after  them  in 
order  the  steps  the  masters  took  in  their 
climbing  to  the  heights;  must  know  who  those 
masters  were  and  what  they  accomplished, 
and  when;  must  gain  some  idea  of  how  best 


to  impart  to  others  the  knowledge  and  skill 
that  their  course  will  have  permitted  them  to 
acquire. 

To  go  a  little  more  into  detail:  The 
Sengs,  Larger  Vocal  Works,  Instrumental 
Solos  for  all  the  instruments  taught,  together 
with  the  vocalises  and  etudes  to  be  studied 
have  been  arranged  most  carefully  in  proper 
order  of  difficulty,  and  grouped  appropriately 
in  the  work  of  each  year.  Definite  credit 
toward  the  total  required  for  the  completion 
of  the  course  is  assigned  for  the  mastery  of 
each  piece.  The  importance  of  memorizing 
music  is  emphasized,  and  at  frequent  oppor- 
tunities the  young  artists  are  tested  in  public 
performances.  Candidates  for  graduation  are 
required  to  give  an  entire  recital,  by  memory, 
to  the  satisfaction  of  a  committee  of  the 
faculty,  the  pieces  being  selected  from  the 
group  assigned  to  the  senior  year  of  study. 

Four  years  study  of  The  Theory  of  Music 
enrich  the  minds  and  train  the  judgments  of 
all  candidates  for  graduation.  The  courses 
they  complete  cover  the  intellectual  side  of 
musical  study  up  to  a  high  degree  of  advance- 
ment and  include  the  following  topics: 

FRESHMAN  YEAR. 

A  2.  Elementary  Harmony.  Com- 
prehending a  study  of  Tones,  their  origin, 
elements,  and  the  methods  of  notation  appli- 
cable to  quality,  force,  length  and  pitch. 
Rhythm  and  the  gradation  of  the  signs  of 
accentuation.  The  scale,  its  forms,  range  and 
the  devices  by  which  it  is  noted.     The  com- 


bination  ol  its  tones  into  intervali  and  chords, 

and  their  designations.  1  he  classification  of 
musical  works  and  the  meaning  and  use  of 
technical  terms.  Text  book:  Hanchett's 
Irtroduction  to  the  Theory  of  Music.  Two 
recitations  a  week  throughout  the  year.  Four 
units.  Professor  Handle tt. 

B  2.  SOLFEGGIO.  Especially  required 
Ol  vocal  students,  but  open  to  all,  and  most 
strongly  advised  lor  those  whose  attention  is 
chiefly  concentrated  upon  instrumental  study. 
The  course  comprehends:  Correct  intona- 
tion, intervals,  sight  reading,  sight  singing, 
notation,  ear  training,  transposition,  and  the 
practical  study  of  part  songs,  cantatas  and 
operettas.  The  class  contributes  to  the  stu- 
dent musicales  at  times.  It  meets  twice  a 
week    throughout    the    year.  Text    book: 

Root's  Methodical  Sight  Singing.  Four 
units. 

SOPHOMORE  YEAR. 

C.  2.  Applied  Harmony.  Open  to 
students  who  have  had  Elementary  Harmony 
— A  2 — or  its  equivalent.  The  work  com- 
prehends: The  table  of  intervals,  triads  and 
their  inversions.  Concords  and  discords, 
progression,  resolution,  transposition,  quad- 
rads  in  fundamental  position  and  their  reso- 
lutions, and  practical  exercise  writing.  Text 
book:  Shepard's  Harmony  Simplified.  Two 
hours  of  recitation  work  throughout  the  year. 
Four  units.  Miss  Blocker. 

D  2.  Advanced  Solfeggio.  Open  to 
students  who  have  had  B  2  or  its  equivalent 


The  work  is  along  the  same  lines  followed  in 
B  2  but  in  a  more  elaborate  and  difficult 
style  of  composition,  including  chants,  poly- 
phonic vocal  works  and  the  memorizing  of 
parts  from  elaborate  scores,  operas,  oratorios 
and  passions.  The  class  meets  twice  weekly 
throughout  the  year.  Four  units.  Text 
book:     Selected  Pieces. 

Prof.  Hanchett. 

JUNIOR  YEAR. 

E.  2.  Advanced  Harmony.  Open  to 
students  who  have  completed  A  2  and  C  2 
or  their  equivalents.  The  course  includes  a 
study  of  chords  of  the  seventh,  ninth  and 
augmented  sixth,  with  their  inversions  and 
resolutions;  altered  chords,  modulations,  sus- 
pensions, organ  point,  cadences,  etc.  Text 
book:  Foote  and  Spalding's  Modern  Har- 
mony. Two  hours  a  week  of  recitation  work 
throughout  the  year.     Four  units. 

Prof.  Michaelis. 

F  1.  History  of  Music.  This  class 
takes  up  the  record  of  achievement,  the  strug- 
gles and  conquests  of  those  who  have  con- 
tributed to  make  music  the  glorious  art  it  is 
to-day.  It  learns  of  the  beginnings  of  things 
in  the  dim  past,  and  their  development  through 
many  forms — scale,  chant,  motet,  mass 
opera,  symphony — of  the  crude  instruments 
of  antiquity  and  their  transformation  into  the 
piano,  organ  and  orchestral  types  of  to-day, 
of  writing  scores  as  it  was  done  and  as  it  is. 
The    students    hear    many    examples    of    the 


works  of  the  masters,  the  aim  being  to  give 
this  class  works  thai  enter  do  other  part  ol 

oi    study.        1  ext    hook:       Gant- 
\  listory    ol    Music.       One    recitation 
each  week  throughout  the  year.       I  wo  units. 
Prof.  Hanchett. 

G   I.     Musical  Pedagogy.     Open  to 
students  who  have  completed  A  2  and  C  2, 

and  are  taking  (or  have  completed)  E  2,  F 
1  ,  and  Division  VII  of  the  Piano  Course,  or 
their  equivalents.  The  course  includes  con- 
sideration ol  the  attitude  of  the  teacher's  mind 
toward  art  and  education;  something  of  the 
psychology  of  childhood;  methods  of  develop- 
ing musical  perceptions,  love  of  art,  tech- 
nique, sight  reading,  precision,  memory. 
1  he  relative  value  of  the  various  matters  to 
which  the  teacher  must  give  attention,  se- 
lection of  material,  exercises,  studies  and 
pieces;  methods  of  practice.  Illustrations, 
sample  lessons,  and  practical  drills  are  in- 
troduced as  needed.  A  lecture  course.  One 
hour  each  week  throughout  the  year.  Two 
units.  Prof.  Hanchett. 

SENIOR  YEAR. 

HI.    Musical  Form  and  Analysis. 

Open  to  students  who  have  completed  A  2, 
C  2,  E  2,  and  Division  VII  of  the  Piano 
Course,  or  their  equivalents.  A  thoroughly 
practical  course  in  the  understanding  and  ap- 
preciation of  the  work  of  the  compo- 
heard.  I  he  class  is  conducted  through  in- 
vestigations  of   the   purpose   and   meaning   of 


art,  its  classifications,  elements,  and  finished 
products ;  the  composers'  way  of  gaining 
effects  rhythmic,  melodic,  harmonic;  the 
building  of  musical  forms  and  the  discovery 
of  motives,  subjects,  episodes,  periods,  imita- 
tions, variations  and  all  the  other  devices  of 
the  highly  developed  musical  art  of  to-day. 
Text  books:  Hanchett's  "The  Art  of  the 
Musician"  and  the  first  volume  of  Bee- 
thoven's Sonatas.  One  hour  each  week 
throughout  the  year.     Two  units. 

Prof.  Hanchett. 
I  1.  Sight  Playing.  Open  to  those 
who  have  completed  Division  VII  of  the 
Piano  Course,  or  equivalent  work  on  other 
instruments,  and  are  recommended  to  this 
class  by  the  private  instructors ;  and  required 
of  those  who  do  not  take  Solfeggio  B2  and 
D2.  The  work  of  this  class  is  entirely  prac- 
tical— the  playing  in  companionship  of  the 
great  orchestral  works — overtures,  sympho- 
nies, concertos,  suites,  etc. — in  arrangement 
for  two,  four  and  eight  hands  with  such  of 
the  orchestral  parts  as  may  be  available. 
The  design  is  not  merely  to  cultivate  facility 
in  sight  reading  although  that  aim  will  be 
kept  to  the  fore,  but  also  to  render  familiar 
and  famous  masterpieces  for  orchestra  and 
give  practice  in  musical  team  work.  One 
hour  each  week  throughout  the  year.  Two 
units.  Prof.  Hanchett. 

IN  GENERAL. 

Those  in  all  classes  share  Brenau's  musi- 
cal atmosphere.      The  artist  concerts,  pupils' 


musicales,  choir  practice,  chapel  music  and  the 
contact  with  the  musical  enthusiasts  who  make 
up  the  conservatory  faculty,  all  help  to  give 
thai  quiet,  imponderable  but  potent  impulse 
toward  musical  culture  that  can  never  be  se- 
cured  by  merely  ''taking  lessons"  and 
practicing. 

REQUIREMENTS  FOR 

GRADUATION. 

I  o  graduate  from  the  conservatory  the 
student  must  complete  the  course  of  studies 
and  pieces  outlined  for  voice  or  chosen  in- 
strument and  must  sing  or  play  to  the  satis- 
faction of  the  faculty  and  by  memory,  a  pub- 
lic recital  with  a  program  of  pieces  selected 
from  the  work  of  the  Senior  year  requiring 
not  less  than  thirty  minutes  for  performance. 
She  must  also  complete  the  four  years'  course 
of  theoretical  work.  In  both  recital  and  all 
theoretical  studies  a  grade  of  not  less  than  70 
must  be  secured. 

TEACHER'S  CERTIFICATE. 

Lpon  completion  of  the  studies  and  pieces 
outlined  for  voice  or  chosen  instrument  and 
all  the  theoretical  work  included  in  the  Junior 

ir,  and  giving  a  private  recital,  not  neces- 
sarily wholly  by  memory  but  before  the 
faculty  and  consisting  of  not  less  than  three 
pieces  selected  from  the  work  of  the  Junior 
.  the  pupil  who  attains  a  grade  of  not 
less  than  70  in  all  subjects  may  be  granted  a 
Diploma*1  01    I  e  icher*i  (  ertifi<  ate. 


THE  VOCAL  DEPARTMENT 


Mr.  C.  F.  Bonawitz  has  been  added  to 
the  vocal  faculty  and  will  begin  his  duties 
September   15,  next. 

Mr.  Bonawitz  has  studied  two  years  in 
Italy,  two  years  in  Germany,  a  year  and  a 
half  in  France  and  a  year  in  Austria.  He 
has  had  large  experience  as  a  concert  artist 
and  has  sung  successfully  in  opera  in  all  of 
the  countries  named. 

He  has  studied  principally  with  Dalmas, 
Bracci  and  later  for  a  time  with  Sbriglia. 
He  teaches  the  well  known  Italian  method. 

As  a  teacher  Mr.  Bonawitz  has  been  very 
successful  and  from  a  number  of  similar  let- 
ters from  former  pupils  the  following  is 
copied  as  typical: 

June  16,   1914. 
Dr.  H.  J.  Pearce, 
Dear  Sir: 

I  am  in  receipt  of  your  favor  of  June  1  3th 
in  regards  to  the  ability  of  Mr.  C.  F.  Bona- 
witz, both  as  a  teacher  and  singer.  In  reply 
beg  to  say  I  have  had  the  pleasure  of  study- 
ing and  coaching  with  Mr.  Bonawitz  for  the 
past  six  months,  and  am  convinced  that  he  is 
the  best  equipped  teacher  of  voice  in  the 
South. 

Yours  very  truly, 

Ernest  B.  Waitt. 


German  and  French  critics  have  expn 
themselves  as   follows: 

One  must  call  Mr.   Bonawitz  a  mastei 

ol  the  art  ol  hd  canto  and  warmly  commend 
him  on  his  interpretation  ol  Valentine  in 
'Faust'    (lis  voice  is  ol  a  wonderfully  warm, 

rich  quality." 

"His  well  placed  voice  was  sympathetic 
and  created  much  enthusiasm.  He  was 
heartily   recalled." 

"He  sings  with  a  fine  style  and  uses  to 
every  advantage  his  beautiful  baritone  voice." 

The  following  was  signed  by  Dr.  Carl 
Gille:  "Mr.  Bonawitz  has  an  exceptionally 
well  placed  baritone  voice  of  a  beautiful 
quality,  and  I  desire  to  most  heartily  recom- 
mend his  method  of  singing  as  well  as  his 
artistic  abilities." 


THE  ART  OF  THE  MUSICIAN. 

By  DR.  HENRY  G.  HANCHETT. 

(Published  by  the  Macmillan  Co.,  New  York; 
Price   $1.50   net,    Postage    13    cents). 

This  new  book  is  the  Text  Book  of  the  Hanchett 
Course   in   Musical   Analysis. 

Excerpts  from  a  few  of  the  many  extended 
press  opinions: 

"Just  the  book  for  one  who  would  listen  to  music 
with  genuine  appreciation  and  talk  about  it  with 
cultured    intelligence."      Standard    Union,    Brooklyn, 

N.  Y. 

"The  work  is  delightful  reading  and  in  it  there 
is  not  a  dull  moment  nor  an  abstruse  line.  It  will 
open  up  entirely  new  delights  in  the  art  of  music." 
Musical  Leader,  Chicago,   111. 

"The  three  admirable  closing  chapters  are  full  of 
sensible  suggestion  that  it  would  be  worth  while  to 
have  copies  distributed  broadcast  as  tracts  through- 
out  the   land."      Vogue,   New   York. 

"Free  from  the  dull  and  commonplace  style.  It 
is  a  book  that  should  be  universally  read."  Musical 
Courier,  New  York. 

"Mr.  Hanchett  is  a  man  of  profound  knowledge 
of  his  subject  and  has  the  quality  of  being  able  to 
impart  it."      The  Chronicle,  San  Francisco,  Cal. 

"The  present  volume  has  long  been  desired.  It  is 
unique  in  contents,  it  is  valuable,  its  style  is  clear 
and  entertaining,  its  theories  sound  and  well  set 
forth.  Its  purpose  is  completely  fulfilled."  The 
Sun,   Baltimore,   Md. 

"Mr.  Hanchett's  guide  to  the  intelligent  appre- 
ciation of  music  is  a  book  for  which  there  is  not 
only  an  immediate  place,  but  a  crying  need  so  far  as 
the  American  public  is  concerned.  The  pages  are 
given  to  the  most  direct  and  helpful  explanations 
and   descriptions."      Globe-Democrat,   St.   Louis,   Mo. 

"The  book,  we  believe,  will  be  very  helpful  to 
those  who  wish  to  listen  to  music  intelligently."  The 
Outlook,   New   York. 


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